UNCONVENTIONAL - MAGIC BY LEWIS GANSON Member of the Inner Magic Circle (Gold Star) Member of the International Brotherhood of Magicians (British Ring) President of the Unique Magicians’ Club, London Photographs by George Bartlett and Ken Scholes Line Drawings by Eric Haylock and Ali Bongo Printed in England by Backhouse & Britton Phoenix Works, Nungate Peckham High Street, London, S.E.15 Published by Harry Stanley Unique Magic Studio 14 Frith Street, London, England, W.1.INTRODUCTION During the thirty years that magic has been my hobby, it has been my good fortune to meet magicians from all-parts of the world, and these good people have generously revealed many of their secrets to me. In addition, in most instances, they have been willing to grant permission for these tricks to be published in order that the benefit of their knowledge and experience, shall be passed on, for the good of magic, to those persons genuinely interested. Ihave always tried to respect their wishes; to keep their secrets if they require them to be exclusive, or to record them faithfully when permission has been given for their publication. With so much fine material as a base it is inevitable that other ideas should occur to me during practice and performance, so, in addition to the material collected from my magical associates, many of the ideas have been recorded in this and my previous books. Every effort has been made to give credit to the originators of the tricks— if there are omissions or misplaced credits — then they have been made unwittingly. I would like to record my thanks, first to the magicians who have contributed ideas to this book; to KEN SCHOLES and GEORGE BARTLETT for their patience and skill in taking the photographs reproduced herein; to HARRY STANLEY for kindly, constructive advice, on the layout and choice of contents; to ERIC HAYLOCK and ALI BONGO for their fine line drawings and to BOB BACKHOUSE who produces the book in the form in which it is received by my readers. Finally, a special word of thanks from me to magical enthusiasts every- where, who write letters of encouragement which makes my work a pleasure, and who buy the books which makes it all possible. LEWIS GANSON. Page 2Chapter One Chapter Two Chapter Three Chapter Four Chapter Five Chapter Six Chapter Seven Chapter Eight Chapter Nine Chapter Ten Chapter Eleven Chapter Twelve CONTENTS Introduction Free Choice _..... i Pa eee Cy Endfield’s Card Penetration and Change ..... Bags of Everything Eddie Ward's Zombie Card Rise Three Penetration Effects: a (a) Bertram Millidge’s New Move with the Jardine Ellis Ring. (b) Silk Through Ring. (c) Silk through Silk. Ken Brooke's Knot-Out plus a simple routine for the Sympathetic Silks an Ken Brooke's Presentation of the Vanishing Card Case and Cards — | Frederica’s Close-up Thimble Routine Diminishing and Expanding Cards Peter Warlock’s The Cardboard Prisoner Tonny Van Dommelen’s Front Page Cards Marconick’s Gypsy Thread Page 21 23 27 33 36 41 46 50 53 3CHAPTER ONI — “FREE CHOICE” FOR MANY YEARS a popular trick with magicians and their audiences has been the one known as “ Just Chance” or ‘“ Bank Night”. Readers will know the effect to which | am referring. The magician shows three or more sealed envelopes and assures his audience that one of them con- tains a treasury note. He offers a perfectly free choice of the envelopes to members of the audience with the stipulation that he (the performer) will be left with one only. The opportunity is given to the choosers to change their minds, and their envelopes, if they so desire. When everyone is satisfied, each person with an envelope opens it and finds a slip of paper on which are printed some words of consolation—the performer opens the one envelope that was left for him and extracts the treasury note. Several ingenious methods have been evolved by magicians for bringing about this effect; usually some other article, such as a tray, holds the note secretly until the one remaining envelope is taken by the performer—then the dirty work is done. In 1945 Dr. Raymond Beebe in the October issue of “ Genii”, published his own routine in which he eliminated the use of any articles other than the envelopes and note. __ It is a fine routine and one which I have used on many occasions, however, | was never quite happy about the method for introducing the note at the last moment, which necessitated going to a pocket and palming out the note. | overcame this difficulty by leaving the maker's sealing band around the packet of envelopes and having the note attached to the underside of this—but, that's a different story and one with which we are not concerned here. My new method has been revealed to very few magicians until now and I pass it on to readers with the hope that it gives them as much satisfaction to perform as it gives me. To the best of my knowledge, this method is original with me, but I feel that had it not been for Dr. Beebe’s routine, the train of thought which resulted in the manner for manipulating the note would never have been started. Before studying the method let us consider the denomination of the note to be used. Until we give this some thought, we do not realise that it is quite an important point, but there is some sound psychological reasoning which should be the determining factor. For instance, a large proportion of the shows at which I perform are attended by Army personnel—sometimes mostly Officers, sometimes mostly other ranks and sometimes mixed. Many of these people know my rank and realise that | could not afford to risk £5 notes but that I might take a chance with a £1. If I use a £1 note for the effect, it is logical but if I risk £5, then to them I am either foolish with my money or am betting on acertainty. As I look fairly sane (I hope!) they are likely to believe that there never is a chance of any of them being a winner and much of the effect is lost. Now, if the show was at an expensive Night Club, where my fee would be in keeping with the exaggerated prices that the patrons are paying, then a £5 note would be in keeping with the circumstances and surroundings—a £1 note may be merely a “tip”. Even for children the effect can be performed, but a different presentation is necessary—a story of a “lucky dip” can be told—and here again the value of the prize must be considered. A two-and-sixpenny or five shilling postal order should be the note found in the performer's envelope, but don’t forget to have a shilling postal order in each of the other envelopes as a consolation prize or you will have some very disappointed children on your hands! Page 5I consider that five envelopes is a reasonable number to use, as this means that four members of the audience will participate and the odds are four to one against anyone winning, which seems more than fair (?) seeing that only the performer has staked any money! Having ensured that our plot is logical, let us study the very little prepara- tion that is necessary. PREPARATION : Five envelopes (lined inside to prevent a shadow being seen) are required; in each one there is a slip of paper on which is printed or written some words of consolation. Here again, think about the wording—do not write “ Stung’, “‘ April Fool” or phrases of that nature. Cause no embarrassment and do not antagonise anybody. “‘ Sorry”, “ Hard Luck” etc., give no offence and make it seem that you would have been pleased if you could have made it possible for someone to be the richer. Seal the envelopes with a slip inside each one. If we assume that a £1 note is to be used, we will now see how it should be folded. Place the note on a table, opened out so that the writing can be read in the normal way. Now fold the right half over the left and make the crease down the right edge. Again fold the note in half from right to left, and make the crease—it is now only a quarter of its normal length, but remains the normal width. Fold the bottom half up to the top half and make the crease on the lower edge. You now have a note folded into a size approximately |} inches square, which opens at one side. Pick up one of the sealed envelopes and holding it so that the sealed flap is away from you and pointing to the right, slide the open end of the note over the LEFT edge of the envelope. The note should be about a third of the way up (from the bottom) the left edge of the envelope. If you have done this correctly, there will be a portion of the note (1} inches square) on the front and back of the envelope. Take another envelope and place this on the table, the sealed flap towards the right and AGAINST the table top. Now place the envelope with the note attached to its edge on top of the one on the table. The three remaining envelopes are placed on top. ALL FIVE envelopes have the sealed flaps DOWNWARDS and pointing to the right; the envelope SECOND from the bottom has the note folded around its LEFT edge, about a third of the way up. Follow the explanation with the envelopes and note in front of you and there should be no difficulty. You may slip a rubber band (or the maker's paper band) around the packet to hold everything in place, but | only do this if I wish to have the packet in my pocket until required during the act; otherwise the packet is on my table. PERFORMANCE : The detailed patter | will leave to the reader as so much depends upon each individual style. However, you will want to inform your audience that you propose to ask four of the members to participate in a harmless game of chance. You have five sealed envelopes, in one of them is a pound note, each Dace Aof the four members of the audience may have a perfectly free choice of envelopes; they will take one each and leave you one—any one. “ One of you will be lucky—whose lucky night will it prove to be?’ Emphasise the fact that they may select ANY envelope; make it appear that they have a good chance of winning. HOLDING THE PACKET OF ENVELOPES: At the commencement of this preliminary patter, pick up the packet of five envelopes, and take them into the LEFT hand, the sealed flaps TOWARDS the audience, the left thumb BEHIND the packet and the fingers in front of the packet. In other words, the left thumb and fingers hold the packet at the spot where the note is concealed. Back and front of the packet can be shown casually and the left hand is seen to be otherwise empty. At this stage, if you desire, the packet can be held between the extreme tips of the left thumb and forefinger. Figure | shows the packet held by the left hand, the view is the performer's; the audience would be where the curtains are in the photograph. The thumb and fingers are over the portion of the packet where the note is concealed. By turning the hand, the other side of the packet can be shown to the audience. COUNTING THE ENVELOPES: When you reach the stage in the preliminary patter where you refer to the envelopes, the packet is already in the left hand and as you specify the number, you count them singly from the left hand into the right in the following manner:— 1—Starting from the position shown in Figure | (performer's view), push with the left thumb, causing the envelopes to spread a little to the right. Do not worry if the spread is uneven, all that is required is that the right hand is able to take the envelopes separately from the back of the packet. 2—Count the envelopes singly into the right hand, taking them from the back of the packet, and retaining them in the same order. To do this, the envelopes in the right hand are always placed back behind the packet as the next one is taken but as the count continues the spread of FIGURE 1. FIGURE 2. FIGURE 3. Pane 7the envelopes widens; that is they become “fanned”. As the THIRD envelope is taken into the right hand, the left thumb automatically slides onto the note which is now revealed to the performer. Figure 2 shows the performer's view with the left thumb holding the note. 3—As the FOURTH envelope is taken, the left thumb retains the note, the edge of the envelope sliding out of the folded note (Figure 2, performer's view). Now the note is against the address side of the last envelope—(Figure 3, performer's view). In Figure 3 the left hand only has been shown, but in performance the right hand, holding the four envelopes, would be to the right but, of course, there would be a clear space between the one envelope remaining in the left hand and the four envelopes in the right hand. 4—The last envelope is now taken into the right hand, but as the envelope is pulled to the right, the left thumb retains the note against the inside of the left fingers. In Figure 4 the left thumb has been moved aside to show the note against the fingers as the last envelope is taken into the right hand. Actually, once the thumb has held the note to permit the envelope to be removed, the note can be held by the left fingers without the aid of the thumb. The hold is momentarily only, as after the count of ** Five’’ the fan of envelopes is placed back into the left hand, completely covering the note again. (Figure 5.) 5—The fan of envelopes can now be shown on BOTH sides, the hand being turned to allow the audience the view seen in Figure 5. During the count there must be no pause as the fourth and fifth envelopes are taken into the right hand. A trial will prove that the count can be made evenly and surely. Each envelope is taken singly into the right hand as the count is made and it all looks perfectly natural and quite fair. Do not try to prove too much by making elaborate flourishes to show both sides of all the envelopes—a simple count is all that is necessary and arouses no suspicion. THE SELECTION : Assume that Figure 5 is now the performer's view, the fan being held in front of the body with the left arm held forward in position for a spectator to choose an envelope. The flap sides of the envelopes are held face on to the FIGURE 4. FIGURE 5. FIGURE 6. Page 8spectator. Ask a spectator to choose any envelope; emphasise that he can have any one. Due to the position in which you are holding the fan, he must pull upwards to remove one i.e., it is natural for him to pull the envelope he has selected upwards and out of the fan. Even if he chooses the fifth envelope (the one against which the note rests) it makes no difference as the envelope slides away from the note which comes to rest against the next envelope. Immediately the envelope has been removed ask the spectator if he would care to change his mind. He may want to do so and all that is necessary is to take back the envelope he selected into your right hand as he takes another from the fan. Then place the returned envelope at the back of the fan in the left hand. Move to a second spectator and go through the same procedure, giving him the opportunity to change his selected envelope if he wishes. Interesting and entertaining by-play can be introduced as the selection proceeds. You will find that some people are quite definite in their choice, and will not change envelopes; some will change immediately you suggest that they are permitted to do so, whilst others are hesitant. Give each person time to make up his or her mind, but do not overplay the changing business—when they are satisfied leave them with their envelopes and proceed to the next person. Should the envelope adjacent to the note be chosen, proceed in exactly the same manner; if the note is uncovered by the removal of the envelope, will only be from the performers’ view, and this is easily remedied by adjusting the remaining envelopes with the right hand. When you have only two envelopes remaining, have one chosen as before then offer the opportunity to exchange. Should the offer be accepted, take back the envelope chosen by the spectator in your right hand and hold your left hand forward for your own envelope to be taken. Because the envelope is held face on to the spectator, he must take it by the top edge and pull it upwards. As it leaves the fingers place the envelope from the right hand into the left, which covers the note again. Do not hurry—the left fingers cover the note from the front the whole time. When the envelope is placed from the right hand into the left, make sure that the flap side is against the note. OPENING YOUR ENVELOPE : Eventually you are left with only one envelope which, if necessary, is adjusted so that it covers the note. __ It is the handling of this last envelope which clinches the whole effect. At this stage, the envelope will be held in the same position as the packet was in Figure | (performer's view), although the single envelope will be a little further over the fingers (towards the palm) to cover the note. By drop- ping and turning the hand the top edge of the envelope is brought downwards, bringing the other side of the envelope towards the audience, It is now a simple matter to bring the forefinger to the front of the envelope and hold it (and the note) clipped between the first and second fingers (Figure 7, perform- ers view). Alternatively, by moving the left hand to the left of the body, envelope and note can be held as in Figure 6 (audience's view). The positions Page 9FIGURE 7. FIGURE 8. FIGURE 9. for holding the envelope can be changed at will, but be careful not to try to prove too much—it should appear that your envelope is displayed casually whilst you direct attention to each of your helpers in turn and have them open their envelopes. As each one finds a slip of paper, have the wording read out, then, after the fourth slip has been read, stand in front of the audience and bring your own envelope to the position seen in Figure 8 (performer's view). It is a simple matter to do this because the left thumb can be moved to the back of the envelope to hold the note whilst the fingers are moved to the front, Holding the envelope as in Figure 8, bring the right hand up to the flap of the envelope, inserting the right forefinger under the flap and tear it open (Figure 8—performer's view). | Now reach into the envelope with the right finger-tips, then, by extending the right thumb at the back of the envelope until the pad contacts the note, draw the note to the right until it comes into view from the right edge of the envelope. Figure 9 shows the audience's view as the note comes into view. The right finger-tips slide from the opening of the envelope onto the note, which creates a perfect illusion of the note being with- drawn from the interior of the envelope. Crumple up the envelope (which contains a slip that you do not wish to reveal), open out the note and act relieved that you have been the lucky person —climax! My main object in this text has been to give readers a description of the subject matter under the five main headings :— 1—Preparation. 2—Holding the packet of envelopes. 3—Counting the envelopes. 4—The selection. 5-—Opening your own envelope. When the moves for performing these functions have been mastered, then many different forms of presentation are possible, but the reader is advised not to complicate the plot. The one given is simple, direct and offers plenty of scope for introducing entertaining by-play.CHAPTER TWO — CY ENDFIELD’S “CARD PENETRATION AND CHANGE” On the many occasions that | have watched Cy Endfield perform, whether it was a full card act or just a few routines to entertain his friends, he has always included the effect about to be described. It is a simple routine to perform, but nevertheless it is extremely effective and, having a rather unusual plot, adds variety and novelty to a series of tricks with cards. The basic sleight is credited to BOB HUMMER, a specialist with cards with whom Cy has often exchanged ideas and theories. EFFECT: A freely selected card is shuffled back into the pack. An indifferent card is placed into a borrowed handkerchief which is folded into the shape of a bag. The handkerchief is held over the pack and, upon being pulled away, the indifferent card is seen to be face up on the pack. On opening the handkerchief the chosen card is revealed. In cold print it is impossible to convey the startling effect that is produced. Everything has been performed so slowly and cleanly that the change of one card for the other appears to be a miracle. The reader is advised to try each stage separately with the cards and handkerchief in hand, then the cleverness of the method and the effect upon the spectators will be appreciated. PERFORMANCE. 1. The performer shuffles the pack, has a card selected, noted and returned to the pack, with the accompanying patter: ‘‘ Please select a card, any one of the fifty-two in this pack. Memorise it but do not let me see it, then return it to the pack.’ After the selected card has been returned it is brought ae top secretly during a shuffle and the pack held face downwards in the left hand. 2. The performer continues his patter making the request “I should like to borrow a gentleman's white handkerchief please”. Whilst the handkerchief is being produced the right hand is brought over the pack (the thumb at the inside edge) and in the action of squaring the cards the right thumb lifts the top two cards enabling the left little finger to hold a break beneath them: Ample misdirection is afforded by the diversion caused whilst borrowing the handkerchief and squaring the pack. 3. As the handkerchief is produced the performer says, “| should be grateful if you will drape it over my right hand.” He holds out his right hand, palm upwards and the handkerchief is draped over it so that the palm comes underneath at the centre. The right hand, covered by the handkerchief, is brought to the rear of the pack and the top two cards are lifted as one. Figure 1 shows how the cards are lifted at the inside right corner by the thumb and forefinger of the right hand (through the handkerchief). This is quite simple as the break held Page 11FIGURE 1. FIGURE 2. FIGURE 3. Page 12 by the left little finger enables the cards to be lifted cleanly and kept in perfect alignment. 4. Turn the two cards over as one and place them on the back of the pack in the left hand. They must protrude over the edge of the pack for about half their width (Figure 2), Notice how the left thumb is extended over the cards to hold them in place and how the left fingers curl under the pack until their tips touch the back of the second (select- ed) card. This positioning of the thumb and fingers is important for the operation of the next move. Draw attention to the value of the face up card by saying, “I have turned over the top card, the King of Clubs—I suppose that wasn't the selected card by any chance... ? ” the answer will be in the negative of course. 5. Now for the important and very deceptive move—Turn the left hand over, back upwards. This brings the pack face upwards with the exception of the two protruding cards which are now backs upwards. Bring the left hand over the centre of the handkerchief and, with the left finger tips, push off the card they are touching (the selected Ace of Spades) onto the covered right palm. At the same time the left thumb pulls back the King of Clubs onto the back of the pack. Figure 3 is an exposed view of this move. The fingers are extended to push the second card (the Ace of Spades) off the pack and on to the handkerchief. Notice how the left thumb draws the King of Clubs back onto the pack. Figure 4 shows the move completed with the fingers extended to hold the Ace of Spades on the handkerchief,There is no need to hurry over this move, in fact it should be per- formed quite slowly as there is perfect cover for pulling back the King of Clubs as the Ace of Spades is placed on the handkerchief. As the move takes place the patter continues virtu- ally without interruption, “ .. . then I will place it face downwards on the handkerchief.” 6. Keep the left hand back upwards and place it underneath the handkerchief. As soon as it is out of sight, turn it palm upwards which will bring the King of Clubs face up on top of the pack. Slide the hand- kerchief onto the pack bringing the face down Ace of Spades over the pack, where it can be gripped through the handkerchief by the curled fingers and thumb of the left hand. Re- move the right hand. 7. Turn the left hand over and allow the sides of the handkerchief to fall over the Ace of Spades (the spectators think it is the King of Clubs). Gather up the edges and corners of the handkerchief with the right hand and turn both hands bringing the right above the left (Figure 5). The position now is that the pack is face down in the left hand which is palm up and the King of Clubs is face up on top of the pack, FIGURE 4. FIGURE 5. covered by the handkerchief which has been gathered up, bag fashion, with the Ace of Spades inside. Reference to Figure 5 shows the final position and it will be seen how the left second, third and little fingers curl over the pack, and with the thumb at the opposite side, grip the Ace of Spades through the handkerchief. All this takes but a second to perform and the only patter necessary is: “| will gather up the edges of the handkerchief so that the King of Clubs will be imprisoned inside . . . Page 138. Let us recap at this point: — The spectators have seen a card selected (the Ace of Spades) and shuffled back into the pack. An indifferent card (the King of Clubs) has been reversed on top of the pack, noted and placed in a borrowed handkerchief. The edges and corners of the handkerchief have been gathered up, bag fashion, to imprison the King of Clubs. They see the pack and hand- kerchief held as in Figure 5. Now for the Climax. Continue to patter with, “And now we have the King of Clubs safely imprisoned in the handkerchief ... Watch’’. _ Still keeping a grip on the Ace of Spades through the handkerchief, pull upwards with the right hand. A ripping sound will be heard as the handkerchief is pulled away from the pack, due to the Ace of Spades leaving the left hand grip. The King of Clubs, which the spectators felt sure they saw placed in the handkerchief, is revealed face up on top of the pack. “You see the King of Clubs has penetrated the handkerchief and has returned to the top of the pack,—and now for the first time will you name the card that you selected — the Ace of Spades, thank you — please open the handkerchief.” Hand the handkerchief to the spectator who selected the card and when it is opened the Ace of Spades will be found inside. OUTLINE OF THE ROUTINE. (1) Card selected, noted and returned to pack. (2) Brought to top during shuffle. (3) Break taken under top two cards as handkerchief is borrowed. (4) Handkerchief draped over right hand and two cards lifted as one. (5) Reversed on top of pack. (6) HUMMER MOVE leaving chosen card face down on handkerchief. (7) Pack placed under handkerchief and this and card slid onto pack in left hand. (8) Left hand turned over and corners of handkerchief gathered in right hand. 1 (9) Both hands are turned over, right above left. (10) Handkerchief pulled away revealing King of Clubs. (11) Handkerchief opened disclosing Ace of Spades. Dane 14CHAPTER THREE — “ BAGS OF EVERYTHING ” Even if the reader never intends to perform a routine with the Cups and Balls I urge him to study this classic. A single routine can embrace so many magical effects that several valuable lessons can be learnt. In a ‘* Cups and Balls" routine one can produce, vanish, transpose, trans- form, penetrate, multiply, colour change etc., but above all it offers the ideal lesson in MISDIRECTION. This trick of mine is really a version of the “ Cups and Balls’. In place of the usual cups, three bags are employed and it is these bags which not only add novelty but also enable the moves to be so simplified that very little sleight of hand is required to bring about the ‘* Cups and Balls " effects. I originally designed the bags for use in the trick “* Patriotic Balls'"’—hence one bag was made red in colour, the second white and the third blue, to corres- pond with the colour of the balls which would be used in that effect. It was whilst experimenting with the bags that I discovered that, due to certain properties of the material from which they were made (thin felt), balls could be made to remain in the bags even when they were placed mouth downwards on a table, then could be made to appear as and when required. From this discovery, new moves were evolved which together with the inclusion of some of the regular Cups and Balls moves, make it possible for complete routines to e built. To the best of my knowledge, this is something quite new in “Cups and Balls" magic — apart from its novelty value, it is possible to bring about exceptional effects in a much simpler manner than is possible with the regular cups. The climax, where a glass full of wine is produced, is quite astounding although actually simple for the performer. THE APPARATUS : (a) The Bags. The bags are made from thin felt. This can be bought in various bright colours. The ones I have (one red, one white and the other blue), look attractive and gay, but there is no reason why all the bags should not be the same colour if so desired. The mouth of each bag is stiffened with an embroidery ring (wooden), four inches in diameter. By studying Figure |, the construction of the bags themselves will be made clear. The measurements of the felt given in the illustration, allows for the edges to be turned in for sewing. If the bags are made inside out, then turned right side out after sewing, the seams will be on the inside, whilst from the outside, the bags will be neat in appearance. (b) The Balls. These are cut from household rubber sponges. The nylon foam sponges that are now so popular for sponge ball work, are not so suitable for this trick as the nylon clings to the felt rather too much, causing the ball to stick to the side of the bag, making it difficult to release when the performer wishes it to make its appearance. To make the balls, cut the sponge into cubes then trim each one with a pair Page 15of scissors. With a little care they can be made into almost perfect spheres of a diameter of one and a quarter to one and a half inches. | suggest that the reader prepares four at the start—all of the same colour. f Later more can be made and ones of WOODEN | | | different colours added according to EMBROIDERY the type of routine that it is desired 4 to perform. I have also tried out the moves with ping-pong balls—they work per- fectly but the manipulator’s plastic “billiard balls” are too heavy. MOVES WITH THE BAGS AND BALLS : A knowledge of the moves des- cribed below will enable the reader to THE BAG perform many of the excellent ‘* Cups COMPLETED é and Balls’’ routines that have been CIRCLE OF | published, and also to build his own RING SEWN FELT FOR if he so desires. All the moves are INTO HEM~ tHe Top ~ simple, but, of course, they must be ee practiced until the necessary confi- tong dence is gained and smooth handling FIGURE is acquired. MOVE 1. The basic move. In order that the reader can readily understand the basic principle of this new style of working the “ Cups and Balls”, it is recommended that the follow- ing actions are performed. Hold the bag mouth upwards by the rim in the left hand and drop in a ball, allowing it to fall to the right-hand side. With the right hand back upwards, grasp the ball through the material of the bag, fingers on top of the ball and thumb underneath. Now invert both hands and the bag, bring- ing them to the position shown in Figure 2. It will be seen that the fingers have caused an indentation in the bag which, because it is made of felt, will remain in position when the fingers are removed. ‘This indenta- tion forms a shelf upon which the ball rests, even when the bag is placed mouth downwards on a table. As the ball is made of rubber and the bag made of felt, there is suffi- cient friction caused for the ball to cling, especially if the indentation is made “U" shaped by curling the right fingers. _ FIGURE 2.After a bag has been placed mouth downwards on a table, all that is neces- sary to show that there is nothing beneath it, is to lift the bag by the top retain- ing the indentation with the fingers and holding the ball through the material with the fingers and thumb. _ In this position, the rim of the bag can be smacked against the other hand—to prove that the bag is empty !__In returning the bag to the table, the ball can be caused to fall to the table by simply pull- ing upwards with the fingers and pressing downwards with the thumb, or it can be kept in the top of the bag by retaining the inden- tation, Do not be afraid of this move —the ball will stay in position until it is required to fall—one trial will convince you. +.. Figure 3 shows a rear view of all three bags with an indentation in each to hold balls. From the front, the indentations are not seen, but in any case, as it is ob- vious that the bags are made of felt, indentations look guite natur- al! FIGURE 3. The way in which the bags are lifted is a natural one and it is good magic to also lift them in this manner when no ball is contained in the top, MOVE 2. To show a bag empty when it contains a ball. Figure 4 shows an exposed view of this move. Holding the rim of the bag between the left thumb and forefinger, the right hand is thrust into the bag, finger- palms the ball and pulls the bag in- side out by grasping the top be- tween the thumb and the side of FIGURE 4. the forefinger. The right hand is pushed forward again, through the rim, turning the bag right side out again. The ball is left inside the bag as the right hand is removed. By this move it is also possible to show the bag empty when it actually contains a latex orange, apple etc., as the fruit can be collapsed and hidden in the hand in the same manner as a small ball. MOVE 3. Loading a ball secretly into a bag. 1st Method. Let us assume that a ball is held secretly in the right hand (finger-palmed). A bag is picked up in the left hand by the top and transferred to the right hand which takes it by the rim, the fingers going just inside Page 17the bag and dropping the ball. There must be a reason for transferring the bag to the right hand such as for the left hand to pick up a ball which has just been produced under the bag or to pick up the next bag. Notice the position of the right fingers in Figure 5. In actual performance, of course, the open- ing of the bag would be away from FIGURE 5. the audience. . 2nd Method. This is a standard move for ‘Cups and Balls” which, because of the ring at the mouth of the bag, can be employed also with the ags. With a ball in the finger-palm. position in the right hand, the hand is placed palm-downwards on the table and the bag lifted by the rim, the thumb at one side and the forefinger at the other. _ In replac- ing the bag onto the table, it goes down over the ball which is re- leased from the fingers, Figure 6 shows the holding position, exposed for the photo- graph. In performance the bag is lifted straight up (to reveal a production or show the bag empty) then replaced downwards FIGURE 6. on to the table. MOVE 4. Loading from the pocket. This move is used for secretly loading fruit, a glass of wine, etc., from the trousers pocket into the bag ready for its production later. It is not a difficult move and is very deceptive, due in the main to the strong misdirection that is employed. Let us suppose that the load is to be introduced into the middle bag, under which there is a ball, the presence of which the audience are unaware up to this point. There is also a ball under the bag on the left. (a) With the right hand, pick up the left-hand bag to reveal the ball. (b) Pick up the ball in the left hand and replace the bag. (c) The left hand takes the ball to the left trouser pocket, deposits it and takes the load, holding it secure against the palm by the third and little fingers. Page 18(d) At the moment the left hand goes into the pocket, the right hand lifts the centre bag by the top to reveal the ball under- neath (Figure 7) then conveys the bag to the left hand, which leaves the pocket and grasps the bag by the rim, the thumb on one side and the forefinger at the other. (e) Immediately the left hand takes the bag, the right hand returns to the table, picks up the ball and displays it (Figure 8)— the left third and little fingers re- lease the load which rolls into the bag. Figure 9. shows an exposed view of the left hand holding the bag and the load, a fraction of a second before it rolls into the bag. (f) The left hand places the bag on to the table. An alternative to (f) above is for the right hand to replace the ball it holds on to the table then to take the bag from the left hand, grasping it by the top (holding the load through the material (Figure 10), and conveying it _ mouth downwards to the table. The load drops to the table under the bag as the right hand releases its hold. FIGURE 9. FIGURE. 7. FIGURE 8. FIGURE 10. The reader may also like to try an alternative method for the position in which the bag is taken into the left hand (from the right hand) for loading. In this case the left hand (holding the load) is turned as the bag is brought Page 19up to it, the bag being placed OVER the load. THE LEFT HAND DOES NOT RELEASE THE LOAD AT THIS POINT. As the bag is taken back into the right hand, the load is grasped through the felt and the bag conveyed mouth downwards to the table. By this method there can be no tell-tale move- ment of the felt as the load rolls into the bag—with a heavy load (say a real fruit), there is a movement of the felt as it rolls in, which may be noticed by a very observant spectator. MOVE 5. Production of a glass of wine. This is a fine climax to a routine—a terrific surprise. With normal cups, this is a rather difficult move, especially if the performer is working real close-up magic where a servante is out of the question. By using the bags, the produc- tion of the glass of wine is performed under test conditions. A rubber cover for the glass is needed—one of the ‘* Unique’’ models is ideal as it has a lip attached which enables it to be gripped through the felt and nipped off easily and quickly. A small glass—I prefer a stemmed one—that can be held in the hand easily is filled with wine and the cover fitted. It is then placed in the left trouser or jacket pocket. The loading is done in exactly the same way as for a fruit load, but I advise that the bag is placed OVER the glass in the left hand (which turns as described above), then both the bag and the load is taken into the right hand, the load being grasped through the felt. Place the bag on the table, mouth downwards and extend the left hand palm upwards. Show the right hand empty then pick up the bag in the right hand, grabbing the load through the felt, and place it onto the left palm. Grip the bot- tom of the glass with the left FIGURE 11. fingers and the rubber cover (through the felt) with the right fingers. Lift the bag off the glass, carrying the rubber cover away in the bag (Figure 11). Hand the glass of wine to a spectator. Watch the points of misdirection that have been given for loading the bag (paragraph 4 above), and then you will have a perfect climax. Page 20CHAPTER FOUR — EDDIE WARD’S “ZOMBIE CARD RISE” EDDIE WARD showed me this item which is one of the cutest methods possible for making a card rise from the pack. It is an ideal climax for an impromptu rising cards routine. The effect is that a freely selected card is placed back into the pack which, after being shuffled, is held in the left hand and covered with a handkerchief. The performer then places his extended right forefinger over the top edge of the shape of the pack outside the handkerchief—not only does the handkerchief cling to his forefinger but the shape of a card is seen to be rising from the pack. It does not stop as in the usual Card Rise but leaves the pack and floats around in the same manner as the ball in a Zombie” routine! It’s quite impromptu; pack and handkerchief can be borrowed. Needless to say, it’s the chosen card that does the floating—interested ? Believe me, the effect is quite uncanny and apart from some acting on the performer's part, there is little else to master. The first requirement is to bring the chosen card to the top of the pack. I still cannot convince myself that my “‘pass’’ is invisible so I undercut the pack, have the card replaced, shuffle off on top of the chosen card, injogging the first card to be shuffled. By undercutting all the cards below the jogged card and throwing them on top, the chosen card becomes the top card of the pack. Starting from that point, let us study the card rise itself. Hold the pack in the left hand, face of cards towards the palm and a short edge of the pack pointing upwards. The fingers are curled around the pack, the pads of the fingers contacting the back (chosen) card. Now throw a handkerchief over the pack and the left hand so that everything is completely covered. Under cover of the handkerchief, pull downwards with the left fingers, causing the back (chosen) card only to protrude below the bottom of the pack. This move is akin to the glide but as the pack is covered, no particular ability is required. In Figure 1, the handkerchief has been omitted to show the pack with the chosen card protruding below it—remember, in per- formance both the left hand and the pack are covered. Bring the right hand to the pack and place the extended forefinger over the handkerchief at the top short edge of the cards; the remaining fingers are curled into the palm. The forefinger points from the back of the pack to the front—the left side of the body being towards the audience with the pack held so that if the face card could be seen, it would be towards the audience. Now lift the forefinger and appear disappointed when the handkerchief does not rise with it. Rub the forefinger along the left arm as if to magnetise the finger, then try again. This time as the right forefinger is extended over the top edge of the pack, the little finger is also extended behind the handkerchief and contacts the bottom short edge of the protruding card. _ Figure 2 is a side view with the handkerchief omitted. The bottom edge of the card is bent backwards then the little finger is raised which lifts the card clear of the back of the pack and brings the top short edge against the under-side of the forefinger. The card, slightly: bent backwards at the top and bottom, can be lifted upwards, the handkerchief still draped around it, until it is clear of the rest of the pack Page 21FIGURE 1. FIGURE 2. FIGURE 3. (Figure 3—handkerchief omitted). At the beginning, the rise should be slow, the appearance being that a card is rising from the pack attracted by the right forefinger. It is effective if the movement is stopped momentarily when the card has risen almost out of the pack, then continued at a slightly quicker pace until the card and handkerchief soars well above the pack which remains (now in view) in the left hand. Only the right forefinger and the shape of the card can be seen from the front as the handkerchief covers the rest of the right fingers. Do not overdo the Zombie business; let the card and handkerchief soar for a moment only then ask for the name of the chosen card. When it has been stated bring the right thumb over and to the front of the top edge of the card and the second finger behind the top edge, then gripping the card between the thumb and second finger, release the little finger—turn the right hand over immediately; the folds of the handkerchief will fall around the card leaving it standing upright from the hand and handkerchief, its face revealed for all to see. For those readers who would like to make this the climax of a longer routine, it is suggested that it is used in conjunction with JACK McMILLEN’S RISING CARD, described in J. G. THOMPSON'S excellent book “MY BEST". This is another clever impromptu rising card effect which also makes use of a handkerchief so, by combining the two, it is possible to have two freely selected cards rise from the pack in different ways. Page 22CHAPTER FIVE — THREE PENETRATION EFFECTS (a) BERTRAM MILLIDGE’S NEW MOVE WITH THE JARDINE ELLIS RING BERTRAM MILLIDGE is well known for his clever ideas on the use of the Jardine Ellis Ring and has had a book published on a very fine routine which he has evolved. He has kindly given me permission to include in this book, his latest method for making a ring penetrate a ribbon. The effect is that a solid ring is made to become threaded on a ribbon, both ends of which are held. PERFORMANCE. At the start, the ring with the shell on it is shown as a solid ring which is then placed across the fingers of the left hand (the shell on top of the ring). The exact position of the ring across the left fingers can be seen in the photo- graphs. Take the ribbon and drape it across the fingers so that the centre of the ribbon comes over the ring opening. Push the ribbon through the ring with the left thumb, aiding the threading with the right fingers and ensuring that the end of the ribbon nearest the body comes under the inner circumference of the ring—that is the front portion of the ribbon is over the outer circumference and the rear portion is under the inner circumference of the ring. Two simultaneous actions now take place; the right thumb and forefinger take hold of the shell and lift it as the left hand turns inwards towards the body obscur- ing the view of the solid ring from the audience. Without a pause, lift the shell upwards, keeping the concave side towards the audience (Figure | — performer's view) and remove it entirely from the rib- bon, then replace it back over the solid ring (Figure 2, performer's view). Prac- tice this move until the outward turn of the left hand can be synchronised to bring the shell and ring together without the solid ring being seen on the left fingers. FIGURE 1. It now appears that the solid ring has been placed on top of the ribbon, the illusion being strengthened by lifting shell and ring together so that it appears as if the bottom of the ring is resting on top of the ribbon (Figure 3— audience's view). Page 23Lay the ring and shell back on the fingers then close them which will bring the shell right into the position for palming. FIGURE 2 FIGURE 3. Hold the ribbon near each end as in Figure 4 then allow the solid ring to quickly slide from the left hand to the centre of the ribbon. In Figure 4 the left little finger has been lifted to show the shell in the palm position. Hand the ring, still on the ribbon, to a spectator for everything to be examined. There is ample opportunity to drop the shell into the jacket pocket on the left side as you turn away. (b) SILK THROUGH RING. FIGURE 4. Another effect that is a favourite with Bertram Millidge is to have a spectator hold a solid ring that is threaded onto a ribbon then to pull the ribbon through the solid circumference of the ring. Although he uses this in his Jardine Ellis ring routine, no shell is necessary and therefore the small ring and ribbon can be replaced with a large ring and twenty-four inch silk enabling the effect to be performed before a large audience. This is an excellent standby for the performer who favours the delightful effects that can be performed with the aid of reels. Should an insistent request be made for a showing when the reel is not available, then this method can be the answer. In the photographs a ribbon has been used to show the action clearly. Page 24PERFORMANCE. Twist the silk into a loose rope and thread the ring onto the centre. Hold both hands palms upwards and grip each end of the roped silk between the first and second fingers (Figure |). Now ask a spectator to hold the bottom of FIGURE 1 the ring firmly. Bring the hands upwards and towards each other above the ring, then lower them to the position shown in Figure | again. Do this three times but on the third time, bring the hands together quickly above the ring and insert the right thumb under the left side of the silk (Figure 2). Release the grip on the end of the silk with the right first and second fingers ‘and as the hands are moved apart again, the silk will travel over the left thumb whilst the end will pass quickly through the ring (Figure 3). The final position will be that the hands are apart and above the ring with the silk stretched between them; the ring will be free. FIGURE 2. FIGURE 3. The vital move should be performed quickly then. it is impossible for the audience to see that the end of the silk has passed through the ring; the appearance is that the silk has been pulled upwards through the solid circum- ference of the ring. Place the silk over the spectator’s arm immediately the penetration has been made then the fact that the position has been altered for gripping the silk with the right hand, is never noticed. (c) SILK THROUGH SILK. This effective little item can be performed as additional by-play whenever two silks are to be used in atrick. The penetration effect is hardly long enough in performing time to justify it being presented on its own but in conjunction with another trick with silks, it does add to the magical value. Page 25PERFORMANCE. Two silks are displayed, one is draped over the left arm whilst the other is spread over the left hand which is held in a loose fist, thumb upwards. The body should be facing half-right with the left arm extended across the body to the right. Bring the right hand over the left fist then, with the right forefinger point- ing downwards, bring the right hand down and poke the right forefinger into the top of the left fist, taking the centre of the silk into the fist to form a well. A secret action is now performed—the right second finger is brought against the centre of the left fist away from the audience. This finger travels into the fist from the side, the left thumb moving slightly to allow the passage of the finger, which takes a fold of silk into the fist with it. When the left thumb closes again and the two fingers are removed from the top of the fist, a clear passage is left through the silk and the fist. When the action is performed correctly all the audience sees is the right forefinger poking the centre of the silk into the top of the fist to form a well. Pick up the other silk from the left arm, and holding it by a corner between the right thumb and forefinger, push this corner into the well in the top of the left fist. Now reach up under the silk over the left fist with the right hand and grasp the corner of the second silk. By pulling slowly on this corner it appears that one silk is passing through the other. Turn the left arm to show all sides of the left fist; one silk will be seen to be passing through the centre of the other. Eventually pull the second silk right through and place it over the left arm again. Open the left thumb and the fingers causing the silk previously covering the fist to spread out, when it will be seen that there is no hole in the centre. Page 26 :CHAPTER SIX — KEN BROOKE’S “ KNOT-OUT” PLUS A SIMPLE ROUTINE FOR THE “SYMPATHETIC SILKS” This is a series of moves for the secret unknotting of three silks, openly tied together in the “ Sympathetic Silks’’ effect. These moves can be used in any normal routine for this classical trick with silks. First, the correct method of tying and upsetting the knots will be described. The knots when tied, are ordinary reef knots (or for American readers, square knots). Most people can tie a reef knot, but for the benefit of the others, this will now be described. THE REEF KNOT. Hold the silks, one in each hand, at the fingertips, each about two and a half inches from a corner, the ends of the silks pointing upwards. Cross the end of the silk in the right hand over the end of the silk in the left hand; that is the right silk is on the near side of the left silk. Now twist the end of the silk in the right hand away from you, downwards, then towards you and upwards again so that it is around the silk in the left hand. The end of the silk in your right hand is now on your left and vice versa. Cross the ends again, this time the left end over the right end then twist the left end away, downwards, and bring it towards you and upwards through the hole formed by the half knot already made and the half knot that you are now making. Take the two ends and pull them in opposite directions in order to draw the knot firm but not too tight. For the purpose of the following moves, the knot should be tied so that each end of the silk projecting from the knot is about an inch and a half long. TO UPSET THE KNOT. Take the very end of the right hand silk at the tips of the left thumb and forefinger. Bend the forefinger and extend the other fingers of the left hand, so that with the right hand holding that portion of the right silk horizontally be- tween the hands, the knot is hidden behind the left fingers. Pull the hands sharply apart, as though to further tighten the knot. Provided the knot is not already too tight, the sharp pull will straighten out the right silk, leaving the left silk tied around its end. This concludes what most magicians regard as the business of upsetting a knot, but the most important part is yet to come. Move the right hand away from you slightly, then slip that part of the silk on the right of the upset knot between the tips of the left second and third fingers. This position is shown in Figure |, from the performer's view. The right hand now gives its silk three or four more sharp pulls, at each pull letting the silk slide through the right fingers, so that the hand ends up having slid to the far end of the silk. Page 27Under cover of this misdirection, the left forefinger half straightens and the second and third fingers bend, sliding the knot as near as possible to the end of the right silk. The knot should finish up between a quarter and an half inch from the end of the silk. FIGURE 1. PERFORMANCE. Let us assume that you are at that stage in the “‘ Sympathetic Silks’’ when three silks are to be tied together and set down somewhere, being secretly untied in the process. To your left have a chair, over the back of which you can hang the silks. Place one of the three silks over the back of the chair, take the silk that is to be tied in the centre in your right hand, and take the third silk in your left hand. Tie together the two silks in your hands; upset the knot and slide the knot to the end of the right silk—all as described. When this has been done, your left hand should be holding the knot, and your right hand should be near the free end of the right silk. Release the knot with the left hand, and pick up the remaining silk from the chair back. Tie the silk held in the right hand to that held in the left; upset the knot and slide the knot to the end of the silk in the right hand. You should now be holding the three silks; one knot in the left hand and one knot in or near the right hand. In both knots it is the end of the silk in the centre that has been straightened. Release the silks from the right hand, turn half right, place the right hand under the centre silk, release the silks from the left hand, and display the silks, hanging over the right hand. The right hand should be palm towards the audience, about a third of the centre silk hanging down in front of the hand, and two thirds hanging down behind. Now, four movements are performed in a smooth even tempo, 1. You begin to turn to your left and your left hand grasps the knot hang- ing in front of the right hand. The knot itself is not grasped, but the silk below the knot is held by the little finger tightly curled around it, and the silk above the knot is held between the forefinger and thumb. The two points at which the silks are held should be as close together as possible. 2. As your turn brings you face on to the audience, the right hand is slid up the centre silk, away from the left hand and towards the other knot. The right hand moves upwards and forwards in this action, and its movement should be followed by your eyes. | Under cover of this misdirection, the knot in the left hand is undone by bending the little finger towards the palm of the hand, and extending the forefinger and thumb, so pulling the end of the centre silk out of the knot in the end silk. When the silks are free, transfer the grip on the centre silk from between the forefinger and thumb, to between the forefinger and middle finger. Page 283. The right hand should now be holding the centre silk just below the knot. Your turn has brought you slightly to the left. Your right hand is forward and above the left hand and the backs of the left fingers are towards the audience, hiding the undone knot. Bring the right hand down and over the left hand from the front so that the end of the silk beyond the knot comes over the back of the left forefinger. _ Immediately grip this end against the fore- finger by the thumb, whilst the right hand, without any pause, continues moving backwards and downwards and pulls the end of the centre silk out of the knot in the end silk. This action is shown in Figure 2, the centre silk being the white one. When the centre silk is free, the right hand releases it, and it falls down behind the other silks. There are now one too many ends at the bottom of the silks held in the left hand, but this is never noticed. The most important point in this action, is the smooth, steady movement of the right hand. There must be NO PAUSE as the knot is placed in the left hand, and the silks are freed. 4. The turn to the left is com- pleted, and the left hand places the silks over the back of the chair: com- pletely untied. If you find any difficulty in this method of untying the knots, it will almost certainly be because you have tied and upset the knots incorrectly. The knots may have been pulled too tight, or once upset, they may not have been slid sufficiently near to the ends of the centre silk. The four most important points to remember are:— (a) Upset the knots properly. (b) When the silks are dis- played over the right hand, have at least two thirds of the centre silk hanging over the back of the hand. You need plenty of silk up which to slide your right hand, (as misdirec- tion) while untying the first knot with your left hand. FIGURE 2. (c) Make no pause in the smooth movement of your right hand when untying the second knot. (d) Perform the moves 1, 2, 3 and 4 in an even rhythm whilst making a smooth turn to the left. Page 29“THE SYMPATHETIC SILKS” One of the prettiest effects in the whole range of magic with silk has always been the trick known as “The Sympathetic Silks”. Presented com- petently, it provides first class entertainment embodying colour, beauty and mystery. EFFECT. The performer holds several silk handkerchiefs which he counts separately as he passes them from one hand into the other. It is seen that there are just six handkerchiefs; two red, two yellow and two green. (Any combination of colours may be used provided the handkerchiefs are in pairs, each one of the pair being identical. ) The performer separates the silks into two groups so that in each hand he holds one silk of each colour. One set of three is placed aside on a chair, whilst the other set (red, yellow, green) is knotted into a string of three. That is, the yellow silk is tied to the red by a corner, and the green to the red. This knotted set is placed on another chair, well away from the first untied set. The magician now commands the knots to leave the second set and travel to the first set. Lifting set number one, he shows them to be securely knotted together. The silks of set number two are lifted, one at a time, and are seen to be unmistakably separate from each other. REQUIREMENTS AND PREPARATION. You will require three pairs of silk handkerchiefs, each handkerchief of the pair identical in colour, but the colour of the three pairs should be in contrast. Thirty-six inch silks make a splendid display from a stage. Take one set of three handkerchiefs and knot them together, using the knot illustrated in Figure 3-3 (a reef knot). In Figure 3-1 you will see the three hand- kerchiefs knotted together at A-A. _ Now if the three handkerchiefs are taken in one hand by their corners CCC they will hang in the hand with the knots concealed in their folds and look exactly like three separate, unprepared hand- kerchiefs. Until required these corners CCC may be clipped together in a small bulldog clip, and hung over a chair back (clip to the back of the chair). The three loose silks are with them. PERFORMANCE. 1. The corner of the loose green silk is twisted once round the second finger of the left hand (Figure 3-2). Now the knotted set is picked up and its corners CCC are laced between the second and third, and then the second and first fingers of the left hand. This is shown in Figure 3-4 in which the loose green handkerchief has been omitted for the sake of clarity. The clip may be Page 30Tere PPE or ere ora [ED The remaining two loose silks are taken between the thumb and first finger of the left hand. All the foregoing moves must be done quickly, because as far as the audience is concerned, you have merely picked up a bunch of silk handkerchiefs by their corners. If used as an opening trick, of course, the preparation is done off stage, and the performer walks on with the handkerchiefs in his hand, 2. THE FALSE COUNT. It is most important that this be rehearsed well, for upon its con- vincing performance depends the whole illusion. The right hand removes, be- tween first finger and thumb, the loose red handkerchief. (The hands must be moved well apart at each count, to demonstrate beyond doubt that the silks are separate.) The performer counts FIGURE 3. “One”. The loose yellow silk is now taken similarly to the count of “* Two". aeeeenne to count off the third separate silk, the important move is made as follows:— The right hand approaches the left, and the loose red and yellow silks are deposited between the left thumb and first finger. Simultaneously the right first and second fingers grip the ends of the knotted set of silks, and bring them away to the count of “ Three’. When correctly performed, this will look to the spectators as though you have merely counted the third silk into the right hand. The actual position is that the right hand now contains the set of three knotted handkerchiefs, whilst the loose ones are in the left. No pause must be made in the counting; care must be taken that the false move is performed at exactly the same speed as the genuine ones. Now the loose red and yellow silks are taken, one at a time to the count of “ Four” and “ Five’, leaving only the loose green one in the left hand. The left hand is stretched out to display the green silk, the corner of which is allowed to untwist itself from the second finger. Finally the green handkerchief is placed in the right hand for “Six. The last three (separate) silks are placed between the thumb and first finger of the right hand. 3. The hands separate the two sets, taking the loose silks into the left hand, and laying them over the right arm whilst the knotted set is placed aside Page 31on aconvenient chair. Care must be taken in so doing that the knots do not prematurely reveal themselves. 4. The loose red and green silks are taken and knotted together by their corners, using the reef knot illustrated in Figure 3-3, but the knot is left fairly loose. The performer now pulls on the two silks as though tightening the knot. What really happens is this, The fingers of each hand take hold of the red (say) on either side of the knot, and pull sharply. Actually this serves to convert the reef knot into a slip knot, so that when desired the knot (which now is only in the green) may be easily slid off the corner of the red handkerchief. Slide the green knot a little towards the end of the red silk so that an even amount of both colours will show at the knot. 5. The yellow silk is now tied to the diagonally opposite corner of the red silk; and it is the red which is again pulled to upset the knot. You will now find that the yellow and green silks may be easily slid off the red. 6. Display the three knotted silks as in Figure 3-5, and then bring the hands together and take both knots in the right hand (Figure 3-6). The next move must look to the spectators as though you simply fold the silks into a bundle and lay them aside; what you actually do is this. The left hand grasps the silks a few inches below the knots, and the right hand lowers the knots until they are out of sight behind the left, then the red silk is quickly withdrawn from the slip knots. In one continuous movement, the silks are folded over, knots (?) inside, and laid on a chair. 7. All that remains is to say the magic word, to cause the knots to travel from the second set of handkerchiefs to the first. When demonstrating that they have safely arrived, set number one must be taken up with a flourish by one of the corners, D in Figure 3-1. The silks of set number two are picked up slowly and delicately by their corners and shown to be single and separate. NOTES: 1. This routine has been explained in the above form because it is shorn of all complications and yet embodies the basic principles of almost all “ Sympathetic Silk” routines. Once these moves have been mastered, then the reader will have no difficulty in lengthening the routine, but he should be wary of over elaboration and repetition. 2. Study Ken Brooke’s ‘** KNOT-OUT "’ for the secret unknotting of the silks, and use his moves in the routine. Here you have a fine example of improvement brought about through the knowledge and experience of a talented performer.CHAPTER SEVEN ——- KEN BROOKE’S PRESENTATION OF THE VANISHING CARD CASE AND CARDS. This delightful sequence of moves provides an ideal introduction to a series of card effects or even a single card trick. EFFECT: From his pocket, the performer removes a card case, opens it and tips out the pack. The cards are fanned out and used to fan the left hand which, of course, must still hold the case. The left hand is opened when it is seen that the case has vanished. Calling attention to his right trouser pocket the performer transfers the cards to his left hand, then reaches into his pocket and produces the card-case which he uses to fan the cards in his left hand. On opening the left hand the cards have vanished but make their re-appearance again when the performer tips them from the case. REQUIREMENTS AND PRESENTATION: You will require two identical packs and their cases (the type with a flap at one end). One of the card cases is prepared in the following manner:— After removing the pack, cut off the part of the box which holds the cards except for the complete side to which the flap is attached, that is, you will be left with the complete flat side of the box which usually has a sample card stuck on (back design showing), including the flap. Place this on a table (back design downwards)—and on top of it put the pack of cards (back design downwards). Now slip an elastic band around the short width of the pack and fake to hold them together. The second case, with the pack inside (backs of cards towards the flap) is in the right hand trouser pocket. The face card of each pack should be the same. With the prepared pack on your table, or in a pocket, all is in readiness. PERFORMANCE : 1. Pick up the fake case and cards with the left hand; thumb at one long side and fingers curled around the face of the cards and onto the other long side. Remove the elastic band with the right hand and place it into a pocket. 2. Still holding the fake (and cards) in the left hand, with the flap of the case towards your body, reach over with the right hand, lift the flap open (Figure 1) and fold it back over the case. Look inside the supposed case. 3. Bring the right hand over again and grip the top short edge of the cards in the position for making the one handed fan. As this is done the cards Page 33and fake case are pushed a little lower into the left semi-closed fist AND AT THE SAME TIME the left hand turns over so that the back is towards the audience. Figure 2 shows the position at this point, the flap has been bent back and folds over the back of the fake case where it is held by the right fingers, so that you are now ready to make a one handed fan. 4. Shake the left hand slightly as if shaking the cards out of the case. Allow the cards to slide out of the left hand, low- ering the right hand a little to bring the cards away from the left hand, but keeping that hand closed sufficiently to appear as if it still held the case. As the cards clear the left hand, immediately fan them out. ny 5. Keep the left hand partly closed FIGURE = 1. as if it holds the case and gently wave the fan of cards below the left hand (Figure 3.) 6. Turn the left hand over and open the fingers to show that the case has van- ished, 7. After a pause of just sufficient length to allow the vanish to register, close the fan into the left hand keeping the fake case to the rear and holding the closed pack with the left thumb at one long edge and the left fingers at the other long edge. 8. With the right hand, point down to the right trouser pocket and as you do this, turn half left. Show the right hand empty then reach into your right trouser pocket and remove the duplicate case (which contains a duplicate pack of cards) THE MOMENT YOU DO THIS, your left hand (holding the pack and fake case) drops down to your left jacket FIGURE 2. pocket and deposits them. By this time you have brought the case from your right trouser pocket and the left hand has resumed its former position—extended to the left of the body, back of hand towards audience and held slightly closed as if it contained the pack. 9. Toss the card case about two feet into the air with the right hand and catch it again. Bring the right hand up to the left hand and tap the back of the left wrist with the card case. Page 3410. Open the left hand to show that the cards have vanished. 1. Place the card case into the left hand; bring the right hand over and open the flap as before; look into the case then turn the left hand over and allow the pack to fall out into the right hand and fan them with the single handed fan. 12. Discard the case then go into the card routine of your choice with the pack that you have tipped from the case. This_ concludes the sequence of moves. From the text, the excellent effect cannot be properly appreciated, but please give it a fair trial then show it to your friends—I am sure that you will be delight- ed with the result. FIGURE 3. ree Page 35CHAPTER EIGHT — FREDERICA’S CLOSE-UP THIMBLE ROUTINE. The following routine is not difficult and it has the advantage of requiring no thimble holders, pulls, etc.; in fact it can be performed impromptu providing the reader is prepared to carry five thimbles in his pocket. It is ideal for those occasions when the request is made to “show us a trick !" EFFECT : The magician shows both hands empty then produces a thimble on the forefinger of his right hand. The thimble is made to vanish and reappear in the most uncanny fashion then it multiplies to two, three and four. One thimble is removed by a spectator but immediately another appears to take its place. Now the five thimbles are placed one on each finger and one on the thumb of the performer's left hand. They are covered with a handkerchief which, when whipped away, reveals that the thimbles have vanished. The handkerchief may be borrowed. METHOD : Four of the thimbles are stacked, one upon the other and placed in the jacket pocket on the LEFT side. The thimbles should be of a shape that will not jam or you may have difficulty in obtaining them cleanly during the manipulation. A fifth thimble is in the jacket pocket on the RIGHT side, together with a long pencil or pen. The handkerchief may be borrowed, or you may prefer to use your own which can be left for examination at the con- clusion of the routine. PART 1 — THE PRODUCTION : Obtain the thimble from the jacket pocket on the right side before the commencement of the routine, carrying it to the thumb-palm position of the right hand. To show the hands empty, hold them with the palms towards the body and open the fingers then turn the left hand over to show the palm. The left hand approaches the right and the little finger is inserted into the thimble which is in the right thumb-palm position. At the same time, the body makes a slight turn to the right and the fingers of the left hand close (the little finger stealing the thimble) with the exception of the forefinger which remains extended pointing to the right hand which is now turned to bring its palm towards the audience. By reversing the moves, the thimble is brought back to the right thumb- palm position then the right hand reaches out and by quickly bending the forefinger, inserting the tip into the thimble, then straightening the finger again, the thimble makes its appearance. At this point one or two of the standard Page 36vanishes and re-appearances can be performed but be sparing with these or you may over-indulge in repetition. However, you require misdirection in order to steal the four stacked thimbles from the left pocket so your last effect should be that of appearing to remove the thimble from the right forefinger by the lefthand. After a slight pause, open the left hand to show that the thimble has vanished, then with the excuse for turning the body to the left in order to reproduce the thimble back on the right forefinger from behind the right knee, place the left hand in the pocket and steal the stack by curling the fingers around it. All eyes will be on the right hand and in addition the body is covering the movements of the left hand. Turn the body to the front again and hold the left hand (curled into a fist) at about waist level with the knuckles pointing towards the audience. The opening of the first thimble of the stack should be almost level with the curled fore- finger and thumb. The right forefinger is waggled to draw attention to the thim- ble then it is brought towards the opening of the left fist. As it approaches, quickly bend back the right forefinger thumb- palm the thimble then straighten the fore- finger again as it enters the opening of the left fist and goes into the first thimble of the stack, Figure | shows a rear exposed view of the right forefinger about to leave the left fist with the first thimble from the stack on its tip. The thimble in the right thumb-palm Poste be seen and also the remaining three thimbles stacked in the left fist. In the photograph, the left FIGURE 1. thumb has been moved aside and the left fingers opened slightly to permit a view of the inside of the fist. After the thimble has been shown on the right forefinger tip, the forefinger is brought to the opening of the left fist where it leaves the thimble protruding through the fist opening. The right little finger is now inserted into the thimble then drawn away (Figure 2), taking the thimble on its tip and carrying it in front —_- of the body. Drop the left hand to the gy side of the body (it still contains three thimbles) and hold it there in a natural manner as the right hand is waved in front of the body. By bending back the right forefinger quickly and inserting the tip into the finger-palmed thimble then straightening the forefinger again, another thimble appears on the forefinger. FIGURE 2. Page 37The same moves are performed as before, the thimble on the right fore- finger apparently being placed into the closed left fist, but in reality being thumb-palmed. Then the second thimble of the stack is shown on the fore- finger which leaves it protruding from the left fist for the right third finger to be inserted. The sequence of moves are repeated until there is a thimble on each finger of the right hand and one in the thumb-palm position—the left hand is empty but REMAINS CLOSED INTO A FIST. Suggest to the spectators that perhaps they think that the left hand has something to do with the trick, then open the left hand slowly and show it to be empty. Ask a spectator to examine one of the thimbles and hold the right forefinger forward for him to remove the thimble. When he has examined it, ask him to replace it on the forefinger, but as the right hand moves towards him produce the thumb-palmed thimble on the tip of the forefinger—all fingers have thimbles on them. Watch the surprised look upon his face when he sees that another thimble has appeared. The four thimbles are now removed from the right fingers and placed LIGHTLY on the fingers of the left hand whilst the fifth thimble is taken from the spectator and placed FIRMLY on the left thumb. PART 2 — THE VANISH : Borrow a gentleman's handkerchief and spread one edge along the left arm retaining one corner in the right hand which is positioned over the top of the left hand. Figure 3 shows this position from the spectator's view. FIGURE 3. FIGURE 4. Make a half turn to the left and during the turn, bring the right hand in front of the left and pull the handkerchief over the left hand. Actually, as the thimbles are obscured from view, the right fingers close over the four on the fingers and pull them from the fingertips. This is a follow-through action, the right hand moving all the time as the handkerchief is drawn over the left hand. By gripping the corner of the handkerchief by the tips of the right Page 38thumb and forefinger only, the right fingers are free to take the thimbles but are obscured from view by the handkerchief itself which drapes down in front. Figure 4 is a rear view of the steal—notice how the handkerchief is lifted over the left hand. The follow-through action is continued which is now a down- ward movement of the right hand drawing the handkerchief with it until the whole left hand is covered. The right hand now releases its hold on the corner of the handkerchief and goes to the right jacket pocket, deposits the thimbles and takes out the pencil. Now comes some subtle misdirection. Study Figure 5—the handkerchief has been omit- ted for the purpose of the photograph only. The pencil taps each thimble—at least that’s what appears to happen, but really it is the thimble on the thumb that is tap- ped each time to create the illusion of solidity on each fingertip. If the thumb is moved behind each finger as the taps are made, the back of the pencil will strike the thimble on the thumb. Of course, in performance, the handkerchief covers the left hand and the pencil taps over it. The pencil is replaced in the pocket then the right hand rearranges the handkerchief over the left hand, permitting the audience FIGURE 5. to obtain a glimpse of the thimble on the thumb as this is done (Figure 6). FIGURE 6. FIGURE 7. Lower the left hand to the horizontal position then grasp a hanging corner of the handkerchief with the right thumb and forefinger. Ask a specta- tor to grasp the corner of the handkerchief in the way you are doing. As you are demonstrating, the left thumb has worked the thimble loose and under cover of the handkerchief, the thimble is allowed to fall into the cupped right hand. In Figure 7 the handkerchief has been moved aside for the photograph Page 39to show how the thimble is worked off the thumb and is in a direct line with the cupped right hand. The right hand (containing the thimble) is removed as the spectator reaches forward to take his grip on the handkerchief. After suitable by-play— or a magic word—have the spectator whip the handkerchief away—the thimbles have vanished. There is ample time and opportunity to dispose of the thimble as the spectator pulls away the handkerchief. Page 40CHAPTER NINE — “ DIMINISHING AND EXPANDING CARDS ” The first person to teach me the finer points of card manipulation was CHARLES KETTLE, a very clever professional magician. He was about seventy years old when I took lessons from him but his hands could perform wonders. In the act with which he had toured theatres, circuses and even fairgrounds for many years, he performed his own version of the Diminishing Cards, which he told me was a combination of Robert Houdin’s and Charles Bertram’s methods. It was a Fan Diminish (Rober Houdin) but in addition, four cards of varying sizes were palmed in his hand (like Charles Bertram) and as the fan of cards diminished, so would he remove a card from the fan (really one of the smaller cards) for comparison with a full sized card. With this idea as a base, | evolved a routine wherein the smaller cards were placed in pockets stuck on the back of one of the fanned cards. This routine was published in my book ‘* Expert Manipulation of Playing Cards’’. Since the publication of that book the routine has been simplified and the expanding effect added, so here is the new version. EFFECT : The performer fans a pack of cards and removes one for comparison later. After closing the fan and giving the cards a squeeze, he fans them once more when it is seen that the cards have dis ished in size—a card from this smaller fan is also removed for comparison. In all, the cards diminish three times, a card being removed after each diminish. After the fourth card has been removed, the cards return to their normal size but that’s not all—they now expand until they are Jumbo size ! PREPARATION : As the diminish is dependent upon the fan move, a pack that is suitable for that type of work is required. Zinci Stearas rubbed on the face and back of each card will make them fan easily. The expanding effect is brought about by the aid of the “stripper” principle, half the pack being stripped in one direction and the other half in the opposite direction. When cards from each half are placed alternately throughout the pack, it is possible to pull the two halves apart until they reach the position that they would be in if they had been “weaved” together. It is now possible to make a Giant Fan. Page 41One last item of preparation for the expansion is to locate a Jumbo Card (face outwards) under the left side of the jacket near the opening of the lapels. This can be in a pocket or held in position with a clip. Now let us go back to the diminishing effect. | Two pockets are stuck on the back of one of the cards. These pockets are made from strips of card and their position can be seen in Figure 1. The three smaller cards are placed in the poc- kets in the following order:— (a). The smallest card is inserted horizontally into the top pocket. First Second diminish diminish cord stands fig upright in (b) The second smallest card is now wprii ight A pockct over inserted into the same pocket but standing the bottom [ | smallest upright. pocket . — (c) The card for the first diminish is inserted upright into the lower pocket. Hoylock. This “‘gimmicked” card is placed in the SECOND position from the top of the FIGURE 1. pack and everything is in readiness for the diminishing effect. PERFORMANCE : 1. Pick up the pack and show both sides (the ordinary card on top hides the gimmicked card), then hold it in the left hand and make a fan with the faces of the cards towards the audience. This fan should be as large as possible, the left second finger-tip being at the extreme bottom right corner of the pack with the thumb at the back. The right hand goes behind the pack and removes the back (top) card for comparison — Figure 2. This now leaves the gimmicked card at the back of the fan. After a slight pause, place the single card under the left arm or into the breast pocket so that it can be obtained quickly and without fumbling later. 2. Close the fan and move the left second finger about half an inch up the right edge of the pack (the thumb moves up behind the pack to be opposite the second finger-tip). Make a fan from this position and remove the card from the lower pocket. Insert this card into the top of the fan then take the full sized card FIGURE 2. from under the arm and hold it alongside Page 42the fan — Figure 3. Replace the ordinary card under the arm, remove the card from the top of the fan and discard it. 3. Close the fan and again move the left second finger-tip up the edge of the pack for about a further three-quarters of an inch and remake the fan from this position. Remove the upright card from the top pocket and insert it into the top of the fan. Compare with the ordinary card as before (Figure 4) then replace this card under the arm and discard the smaller card. FIGURE 3. FIGURE 4. 4. Close the fan again and move the left second finger-tip up the edge of the cards to within an inch of the top (thumb behind as before). Make the fan in this position and immediately bring the right hand up at the back of the fan (thumb pointing downwards and fingers over the gimmicked card— Figure 5) and turn the fan completely over by turning the right hand—Figure The gimmicked card is covered by the right fingers and only the backs of the tips of the fanned cards show—it appears as if you are showing that the backs of the cards have diminished. FIGURE 5. FIGURE 6. 5. Reverse the moves to bring the fan into the left hand with the faces of the cards towards the audience again but as the fan pivots over the upper Page 43edge of the left little finger, make sure that the little finger is across the card diagonally. The meaning of this will be clear if the reader will study Figure 7 — notice how the left little finger is across the corner of the face card so that only the index shows; in effect, the width of the card has been lost and the illusion of the diminish is perfect. Remove the last small card, insert it into the top of the fan and compare the ordinary card with it. Bring the ordinary card behind the tiny card and remove both together and discard. 6. Close the fan; make the action of pulling on the cards as if to stretch them again, then remake the fan but from the first position so that a full sized fan is exhibited. Remove the gimmicked card and hold it alongside the fan to compare the size once more (Figure 8), then discard it, being careful not to expose the back. FIGURE 7. FIGURE 8. You are now left with a pack of cards with which to perform the expanding effect or, if you wish, to go right into a card fanning routine. 7. The Expanding Cards. This effect can be used as a climax as it adds a touch of comedy and whilst | do not suggest that it is a great mystery, it does conclude the trick on the right note. Immediately the cards have been shown as having returned to their normal size, hold the pack by the long edges, the two thumbs at the inner edge and the second and third fingers of each hand at the outer short edge (face of cards towards stage). Move the hands apart when, due to the “stripper” principle, every alternate card will move until the position is reached which is the same as if the ‘‘weave"’ had been performed, namely, the cards are ready for a Giant Fan to be made. Take the extended pack into the left hand and make a Giant Fan (faces of cards towards audience) then holding the fan in front of the body (and close to it), reach behind with the right hand. It appears that you are reaching behind to extract a card as you did with the diminishing fans but actually the right hand goes under the jacket at the left lapel, seizes the Jumbo Card and brings it into view from behind the fan. Page 44Discard the Jumbo Card then return the pack to normal (by a waterfall shuffle if you wish). I do suggest that the expanding effect is done “‘with one’s tongue in one’s cheek’’ — it's not intended to deceive, just to close on a smile. Pace 46FIGURE 2. FIGURE 3. that the light reaches the front of the bag). Having made sure that I was satisfied he took a length of ribbon (ribbon is taken from the table) and proceeded to thread it right through the bag”. The performer now threads the rib- bon through the back of the bag, where the card is and then through the front. The ribbon is pulled through until about five or six feet is left at the rear. At this point, the performer's assistant steps onto the stage and takes the end of the ribbon behind the bag. The performer then passes the end of the ribbon in front to a member in the front row of the audience with a request that he holds on firmly. If the performer does not use an assistant the end behind the bag can be tied to the back of a chair. The patter and actions continue :— “The magician now did a thing that both you and | have seen hundreds of times. He picked up a pack of cards, shuffled it (the performer does so, keeping control of top card), showed all the cards to be different (performer does so), then came into the audience and asked somebody to select a card.” The performer comes down into the audience and forces the duplicate of the card in the pocket in the bag. The method may be one of many, but it must be direct and the selector must be left with the card. FIGURE 4. FIGURE 5. “He now asked the holder to show the card to everyone but himself and Page 48so that this could be done, he turned away. (Performer turns away from holder of card). The card then had to be returned to the pack and the latter given a good shuffle. Perhaps you will do just that. (Pack is handed to holder of card.) Now sir, may | have the cards back like my friend did? (Performer takes back the pack and returns to the platform.) My friend said that he would now drop the cards into the bag. Before he had the chance, how- ever, | asked to see that the bag was really empty. He didn't mindabit. (Per- former picks up lamp and places it behind the bag, which as before appears to be empty (Figure 3.) | then let him go ahead. (Performer cascades the pack into the bag, steadying the latter by holding it at the bottom Figure 4.) Nothing left in my hands, he said . . . and then he did just this . . he took told of the bag at the bottom, told the holders of the ribbon to hang on tightly, then asked the selector of the card to name it . . will you sir, name the card you selected . . the Ten of Diamonds... Thank you . . He pulled the bag down quickly and left, just as | have left, the chosen card a prisoner on the ribbon."’ (Performer pulls down the bag scattering the cards and leaves the duplicate card on the ribbon. Figure 5.) Page 49CHAPTER 11— TONNY VAN DOMMELEN’S “FRONT PAGE CARDS” This novel effect was a feature of TONNY VAN DOMMELEN’S act which he performed at the International Congress of Magicians at Amsterdam (1955). It has all the ingredients of first class entertainment as, although basically a card trick, it can be seen and appreciated by the whole audience when performed in a large theatre. An entertaining feature is that the performer apparently makes three mistakes in finding selected cards yet saves his reputation by reveal- ing the correct cards in an exceptionally novel manner. EFFECT : Three cards are freely chosen from the pack by different spectators. The cards are returned to the pack which, after being shuffled, is placed in the performer's pocket. Now the performer removes three cards which he states dramatically he has been able to locate by his extra sensitive touch. Unfortun- ately they prove to be the wrong cards. However, the performer agrees to attempt to rectify his mistake and to do so folds a newspaper into a packet. After making one tear in the paper, he unfolds it and shows that he has indeed revealed the first card as its pattern is seen to be torn out in the paper. Refolding the paper, another tear is made which, when the paper is unfolded, proves to have revealed the second card. The folding and tearing is repeated for a third time, when the pattern of the last card is shown cut out in the paper. REQUIREMENTS : (a) _ If you are able to force three cards convincingly then use the method that suits you best. The surest and simplest way for stage work is to use a three-way forcing pack, the force cards being the Eight of Hearts, Eight of Spades and Four of Diamonds. _ With three indifferent cards on top of the pack and one on the bottom, you are all set to emulate the feats of a master of sleight of hand with cards ! (b) In addition to the forcing pack, you will need one full sheet of a newspaper i.e. four numbered pages. PERFORMANCE : 1. Three members of the audience each select a card from the pack— unbeknown to them, the cards are forced, one receiving the Eight of Hearts, the second the Eight of Spades and the third the Four of Diamonds. 2. The cards are replaced in the pack. If you have no difficulty with a false shuffle then this can be done but leave the three indifferent cards on top of the pack. Place the pack in the jacket pocket then state that, because you have extra sensitive fingertips, you can locate the very cards chosen. Page 503. Remove one of the indifferent cards, call its name and look expectant- ly towards one of the spectators who chose a card. When he denies that it is his, look towards another of the spectators—again it is denied so look appealing- ly towards the third spectator. As he disclaims it, admit that you have made a mistake, but as you have two more chances, the trick can still come out two- thirds right. Remove a second indifferent card from the pocket and repeat the same procedure—again it is the wrong card. _In desperation, remove the last card then after the three spectators have denied that it was not one of those chosen, admit that your fingertips could not be as sensitive as you thought but that you will endeavour to rectify your mistakes in another way. 4. Pick up the sheet of Yeylock- newspaper and hold it, opened out, in front of your body (Fig- ure 1, No. 1). Now fold the 4 right side inwards (towards the body) and bring it over to the left side so that the sheet is folded in the middle along its LH. length (Figure 1, No. 2). Again fold the right side inwards and to the left until it is once more folded along its length (Figure 1, No, 3). Fold the long strip 4 5 R upwards from the rear, bottom Performers View to top (Figure 1, No. 4). Re- peat this fold (Figure 1, No. 5). You will now have the paper folded into a square packet as shown in the illustration; the open edges being along the top and down the left hand side. 5. On the right-hand side of the packet, tear out a portion of the paper in the shape of half a heart (Figure 2) then re- quest the first spectator to name his card. When he alls: “Eight of Hearts’, open out the paper to its full size when it will be seen that there are eight hearts cut out in a pattern from the paper. IW fale @ 0 peat Now ready eee for tearing” 1" kea Refold as fig id gives on ©, you teece 8 of HEARTS ‘Jind 3 (—@ ‘ tear 7 gives you 4 f DIAMONDS for Bf SPADES oO 6. Refold the paper exactly as before (Figure 1, Nos. 1 to 5). At the bottom of the first tear, make another ‘L"’ shaped tear. The complete tear will now represent half a spade (Figure 2) and when the second spectator is requested to name his card and calls: “Eight of Spades’, by opening the Paper you show the pattern now depicts eight Spades. 7. Again refold the paper and this time tear off the large bottom right- hand corner (shown by the dotted line in Figure 2) so that the original pattern is completely torn away. Ask the third spectator to name his card, which will be the Four of Diamonds. Open out the paper and show the four large holes in the paper in the shape of diamonds. Page 31You have brought your trick to a very effective and successful conclusion. NOTES : 1. The patterns in the paper can be made very accurately and neatly if instead of tearing, the paper is cut with scissors. 2. An effective climax can be obtained if instead of simply cutting or tearing the corner away in order to produce the pattern for the Four of Diamonds, the performer places the folded paper on stage and stands with one foot across the corner (Figure 3) and by pulling the packet upwards sharply, the corner is torn away automatically. Maybe the reader would prefer to have the spectator stand on the corner. Whatever the procedure adopted, the climax is excellent.CHAPTER TWELVE — MARCONICK’S ‘“ GYPSY THREAD ” When Harry Stanley returned from GRONINGEN in Holland, where he had been attending the DUTCH NATIONAL CONGRESS, he was full of praise for a young Dutch magician by the name of MARCONICK. In the REVIEW Column of the GEN" (Volume 10, Number 5) Harry wrote:— "I must mention a really brilliant young man... MARCONICK. . . his act contained so many refreshingly new things that I honestly don’t know where to start to try to describe them. I booked him to appear in my show on September 26th and you will see then the reason for my enthusiasm”. MARCONICK came over as promised and his excellent performance at the Victoria Hall confirmed all that had been written about him. In addition to being a fine stage performer, MARCONICK has a wonderful close-up act in which he features THE GYPSY THREAD. He has his own method for this fine trick and has kindly given me permission to publish it. We are also indebted to ALI BONGO who made sketches as MARCONICK carefully explained every move. These rough sketches were later redrawn by Ali in his usual artistic manner and readers will agree that they make the neces- sary preparation very clear indeed. The plot of the trick is simple—the magician breaks off a length of thread from a spool After displaying the thread at his fingertips he proceeds to break it into tiny pieces which he rolls into a small ball. A magic word is uttered; the ball is unravelled and the thread is in its original state—one complete length. What makes this routine so very mystifying is the fact that everything is done at the fingertips; there seems to be no opportunity for trickery. Every move is clean, deliberate and natural. How can there be trickery involved when the performer demonstrates his magic only inches from the eyes of his audience? They can see every move he makes; see every part of his hands and fingers, yet a seeming miracle takes place. In the MARCONICK routine things have been simplified for the performer by an extremely subtle idea in the preparation which enables the secret bundle of thread (a complete length) to be obtained between the fingers in the action of picking up the spool. The secret work is over before the routine actually starts! REQUIREMENTS AND PREPARATION. If the reader will procure the CORRECT type of cotton and will study care- fully the way in which it should be prepared, then he will have little difficulty in mastering the routine. Ali Bongo’s illustrations will be found to be an enormous help in understanding the preparation as they show most clearly exactly what is required. Page 53Shops that provide tailor’s requirements stock BLACK or WHITE TACK- ING COTTON which is sold on cardboard spools or bobbins. This cotton is cheap; an inferior material to that used for sewing but it has a characteristic that we require, namely it can be snapped easily. Various sized bobbins are stocked—we require one some- what larger than the more usual reel of cotton—the ideal size can be determined by com- parison between the bobbin and the hand in the photographs. LENGTH “B" “0 LENGTH "A WIND FI on HERE ' TO sroon C_~ | To Prepare:— 1, Unwind about a yard of cotton from the bobbin. We will call this length A. Grip the cotton between the right thumb and forefinger at the point nearest to the bobbin then unwind about another yard. This second length we will call length B. _ Figure | shows the two equal lengths with ‘‘x”’ the spot where the cotton is held. WIND LOOSELY ) AROUND FIRST dis TWO FINGERS IMA FIGURE OF EIGHT 2. Place the bobbin in a position where it cannot unroll —on a table or have it held— then grip point ‘‘x’’ between the left first and second fingers, holding it firm with the thumb. Holding length B in the right hand, wind it loosely in a figure of 8 around the left first and second fingers. If the left first and second fingers are held slightly apart and the thread wound around them loosely in a figure of 8 as show in Figure ILLUSTRATION | 1. 2, until all of length B is used up then the wound thread cz be slipped off the fingers easily. The shape of length B after it has been slip- ped off the fingers is shown in Figure 3. LENGTH A“ 3. Now bend the top of the 8 over the bottom (Figure 4) when you will have a small circle of coiled thread (Figure 5). Squeeze the circle sideways to make it a small flat skein (Figure 6) then pleat the skein zig-zag into three as shown in Figure 7. Take the bundle in the left hand and wind five turns of length A around it (Figure 8). 4. The little bundle is now placed against the side of the cotton on the bobbin and the remainder of length A is wound back on to the bobbin. The Page 54bundle should be near one end of the bobbin and length A wound towards the other end; Figure 9 shows this arrangement. Before the performance commences, the bobbin can be on a table or in the left-hand side pocket of the performer's jacket. PERFORMANCE, If the reader has prepared the thread as described and will go through the following moves with the bobbin in his hands, he will have little difficulty in mastering the routine. 1. Pick up the bobbin in the left hand. The left thumb is on one side of the bobbin and the first and second fingers on the other side. Figure 10 shows this hold and reveals clearly how the bundle comes between the sides of the first and second fingers. With the fingers held close together the bundle is squashed between them and is hidden from view (Figure 11). FIGURE 10. FIGURE [1. In Figures 10 and 11, white cotton on a bobbin of black cotton has been photographed so that it shows up clearly. In performance, of course, the cotton would be all the same colour. 2. Take the end of the thread between the right thumb and forefinger and pull to the right causing the thread to unravel from the bobbin. _ The pull must be a gentle one, then when the bundle is reached, it will not be pulled from between the left first and second fingers. Release the grip on the thumb by the right thumb and forefinger. 3. Holding the bundle and length of thread in the left hand, take the bobbin into the right hand, letting an extra three inches (past the bundle) unravel. Break the thread at this point and place the bobbin aside. Figure 12 shows a good method of snapping the thread close to the bobbin without danger of pulling the bundle away from between the left first and second fingers, Holding the bobbin between the right thumb and Page 55forefinger, the thread is trapped against the side of the bobbin by the pad of the forefinger. The thread goes over the second and third fingers and under the little finger which is bent and pressed against the top of the palm. Thus the thread is anchored against the side of the bobbin and the top of the palm. By bending the second and third fingers up- wards, the thread will snap. FIGURE 12. We are now left with what appears to be about a yard of thread hanging down from the left hand, the bundle being hid- den between the first and second fingers. By bringing the left thumb up against the side of the forefinger, the bundle can be gripped between the pad of the thumb and the side of the forefinger. This keeps the bundle hidden but releases the second finger and we are left with a natural position for holding a length of thread, namely between the left thumb and forefinger. 4. The next requirement is to snap the thread into short lengths. This can be accomplished as follows:— With the thread hanging down from the left hand, bring the right hand in front of the thread (nearest to audience) with the back of the hand towards the audience. Lift the left hand and let the thread run through the right fingers until the end of the thread is reached. Take two turns around the right forefinger and hold the thread pressed against the finger by the pad of the thumb. Allow the thread to go over the second finger and under the third and little fingers. Press the thread against the palm with the pads of the third and little fingers. By exerting an upward pressure with the second finger, the thread can be snapped. The small piece of thread that has been snapped off is placed between the left thumb and forefinger, close to the hidden bundle but with just a tiny gap between it and the long length to facilitate easy removal FIGURE 13. FIGURE 14.Continue snapping off short lengths and placing them between the left thumb and forefinger until all of the thread has been used up. We are now left with the short lengths held as shown in Figure 13. The bundle (now ona short length of thread) is still hidden between the thumb and forefinger. 5. With the right thumb and forefinger remove all the pieces of thread together except the one with the bundle attached. This can be done without fumbling due to the fact that a tiny gap has been left between it and the rest of the pieces. Make a rolling motion with the right thumb and forefinger; the pieces of thread will roll up into a ball between the pads of the thumb and forefinger. In Figure 14 the visible ball is seen between the right thumb and forefinger whilst the short length of thread (really a long length because it includes the bundle), is seen between the left thumb and forefinger. 6. Place the ball between the left thumb and forefinger, opening the pads sufficiently to let the ball be pressed between them but without disclosing the bundle. Close the pads over the ball. In appearance you have placed the ball against the short length of thread under the pads of the thumb and forefinger; in fact you tell your audience that you are attaching the ball to the short length of thread. Immediately the ball is out of sight, take the bottom end of the thread between the right thumb and forefinger and give a gentle pull. This will bring the bundle into view on the thread (Figure 15). As the ball is hidden between the pads of the left thumb and forefinger, it appears that the ball composed of short pieces of thread has been attached to the straight piece of thread held in the left FIGURE 15. hand. 7. _After a slight pause, blow on the bundle and slowly pull the hands apart. The bundle will unravel and you are left with about a yard of thread; the same length apparently with which you started. 8. After a pause of sufficient duration to let the audience appreciate the restoration, lower the right hand and hold it palm upwards. Allow the thread to spiral down into the right palm (by lowering the left hand). When both hands are close together, drop the end of the thread and the ball of pieces (under cover of the left hand) into the right palm and bring both palms together. Make a circular motion with the left hand which causes the thread and ball of pieces to roll up together into a single ball. You are now left with a small ball of thread which is apparently the thread the audience has seen restored. This ball can be tossed aside casually—but make certain that it is not able to be picked up by a too curious onlooker. That completes the description of MARCONICK’S method for the effect. It is a beautiful close-up item performed right at the finger-tips. Perfect cover Page 57is provided for every move and a trial will convince the reader that it looks aed impossible that a duplicate length of thread is concealed anywhere in the ands. ALI BONGO’S ADDITION. At the CONGRESS OF THE BRITISH MAGICAL SOCIETY, ALI BONGO won a prize for his performance of a clever routine; a description of which is given below. Ali has added to the Marconick routine a needle thread- ing effect which has been published in a number of books. However, although the threading idea is not new, it is the dovetailing together of the two effects which makes the BONGO routine so very effective. An addition is required to the initial preparation in that a needle is threaded onto the end of the thread in a certain way—lIllustration Number 2 will make this clear. 1. Select a needle with a large eye and, after the thread has been pre pared on the bobbin (exactly as for the Marconick routine), pass the end of the thread through the eye of the needle (Figure 16). 2. Now take the needle in a half circle in a clockwise direction and pass the point through BOTH lengths of thread. In Figure 16 the points through which the needle passes are shown by “x"’ “x’’. 3. Pull the needle and thread through the two lengths of thread (the strands will part to allow the passage of the needle and thread) and you will reach a position as shown in Figure 17. 4. Continue. pulling on the needle until the loop is pull 116 fi GH ed tight and the result will be as in Figure 18. All is now prepared for you to perform the complete routine—all you appear to have is a needle threaded on to the thread on the bobbin. To hold everything in place until you are END ready, the needle can be passed J under a few strands of thread on the bobbin. Vee sunpte | PERFORMANCE. 03619 UNDER 1. The thread i 1 UNDER . The thread is unravel- led and broken. from. the 8 cur bobbin exactly as for the Mar. 119] ame | conick routine, the bundle being hidden from sight between the sides of the left first and second fingers and transferred to be- - tween the thumb and first LL ERE finger. 4 2. Holding the needle in the right hand, attention is call- ed to the fact that the thread —————— 2. passes through the eye of the Page 58needle once. Now by gripping the thread at point A in Figure 19 and pulling downwards, the thread is automatically threaded through the eye for a second time. This happens because the thread has been joined to itself by the initial preparation—by pulling the thread through the eye, the join is brought up and passes through the eye—thus a second strand of thread is passed through the needle. The pulling can be done by gripping the thread at point A between the left second finger which holds the thread against the side of the left thumb. In this manner the bundle is still held between the thumb and first finger and does not interfere with the pulling. . Show that the needle is threaded twice, then repeat the downward pull and for a third time the thread will pass through the eye. Continue the threading effect until it is impossible to get another strand through the eye or the thread is used up, then hold the circles of thread between the left thumb and forefinger (adjacent to the bundle) and release the needle from the right hand. The position will now be as shown in Figure 20. With a pair of scissors, cut through the strands of thread at point B, then pull the needle away and place it aside. This leaves you with small lengths of thread and the hidden bundle between the left thumb and forefinger—in fact we have reached the position in the Marconick routine depicted in Figure 13. From here on, the routine is exactly the same as Marconick’s Page 59